-, ' 11Ie Singer as Priestess: Interviews with Celina Gonzatez and Merceditas Valdes ".:" - , «1',..... .... .. (La Habana, 1993) Ivor Miller Celina Gonzalez: Queen of the Punto Cubano rummer Ivan Ayala) grew up in New York City listening to the music of Celina Gonzalez. * As Da child in the 1960s he was brought to Puerto Rican espiritista ceremonies, where instead of using drums, practitioners would play Celina's records to invoke the spirits. This is one way that Celina's music and the dedication of her followers have blasted through the U.S. embargo against Cuba that has deprived us of some of the planet's most potent music, art and literature for over 32 years. Ivan's experi­ ence shows the ingenuity of working people in maintaining human connections that are essential to them, in spite of governments that would keep them separate. Hailed as musical royalty in Colombia, Venezuela, Mexico, England and in Latin USA, Celina has, until very recently, been kept out of the U.S. n:tarket.2 Cuba has long been a mecca for African-derived religious and musical traditions, and Celina's music taps a deep source. It is at the same time popular and sacred, danceable and political. By using the ancient Spanish dicima song form to sing about the Yoruba deities (orichas), she has become a symbol of Cuban creole (criollo) traditions. A pantheon of orichas are worshipped in the Santeria religion, which is used by practitioners to protect humans from sickness and death, and to open the way for peace, stability, and success. During the 14 month period that I spent in Cuba from 1991-1994, I had often heard Celina's music on the radio, TV, and even at a concert/rally for the Young Communist League (UJC), where the chorus of "Long live Chango'" ("iQueviva Chango!") was chanted by thou­ Celina Gonzalez (r) and [dania Diaz (l) injront o/Celina's Santa sands of socialist Cuba's "New Men" at the Plaza of the Revolution.3 Celina is a major figure in Cuban music and cultural identity. Her 1948 song "Santa Barbara altar. Photo: [vor Miller. Barbara" was a groundbreaking event in modem Cuban music, reviving Cuban rural music *Written and translated from Spanish by Ivor Miller and edited in collaboration with ldania Diaz and Jill Cutler. Interview by ldania and Michel Diaz and Ivor Miller; December 14, 1993, in the home of Celina Gonztilez in Havana. Cuba. Thanks to Karin Barber for help with the Yoruba glos­ sary, and to Mirta Gonzalez and Guillermo Pasos in Havana. Italicized words can be found in the glossary at the end of the interview. 287 288 Singer as Priestess: Celina Gonzalez. Merceillas valdes interviews Ivor Miler 289 ", ; (mt1sica guajira, el "punto cubano") for a national and international audience. and infusing it altar. I respected her very much because she was very saintly. if she saw a sick person she'd with Afro-Cuban creole spirituality. Celina is herself a "guajira, " (country girl) and is fiercely cure them. and never asked anything for her work. proud of it. She grew up near the Sierra Maestra, the mountainous region in eastern Cuba where My father was also Catholic. I often go to church and give masses for my dear ones and many slave rebellions. the War of Independence. and the Cuban Revolution were fomented. She my spiritual guides. has been an ardent supporter of the Revolution. and also of the guajira culture in which she grew I've been a poet since I was ten years old. It is a gift. Words come easily to me. I don't up. During the early years of the Cuban Revolution. the public performance of religious songs know if it could be some poet that accompanies me as a spirit. I work a lot in octosyllable (a was prohibited. and Celina withdrew from singing "Santa Barbara" for over twenty years. type of decima). and when the feeling comes to write. words often come in this form. It was the 1987 publication of the famous Castro interview. Fidel and Religion,4 that I've been a seer since I was a little girl. I 4~~loped my vision alone, because my saints prompted her to sing for Chango again, and soon after this began the current explosion in and my ancestral spirits wouldn't let anyone near me. Above all it was Santa BarbaEawbo Santeria initiations. She is an important figure in today's religious revival. said. "Nobody can touch you until I say so. I am the one who has to choose." It is for this that I first met Celina Gonzalez and her son Reutilio Jr. at an intimate concert they gave at the I respect her so. and for this that I waited so long to make saint. old Spanish Castilla de la Fuerza at the port in Havana Vieja. She had just finished singing 1M: Where were you and your husband born? "Santa Barbara" without microphones. accompanied by acoustic stringed and percussive CG: My husband ReutilioS was from Guantanamo Province. He was born in San Antonio instruments. I was astonished at the strength of her inspired voice and charged from the ener­ Redo. known today as EI Central Manuel Tames. I was born in Jovellanos. la Nueva Lisa. in gy she manifested. Reutilio Jr., also charged from the music. eagerly signed and gave me a Matanzas Province. My parents moved east to Santiago de Cuba when I was a young girl. Four poster of himself and his mother. After a long conversation in which we exchanged ritual sta­ years ago when they paid me homage in Jovellanos, I met my family that stayed there. tus and lineage information (he a son of Ogun and I of Chango), he gave me his home phone Reutilio and I met in Santiago de Cuba. Without any formal schooling. he played the number and asked me to call in four days. His mother was to receive Babalu-Aye the follow­ guitar more wonderfully than anyone I've ever heard. His music brought people to their feet. ing day. and would be occupied for the three-day interim. In that time one had to be an artist! If you weren't, the audience would throw tomatoes at In Havana. December is a busy month for parties and ceremonies. December ~ is the you in a minute. But our two voices made an impact, he was the second and I the lead. And celebration of Santa Barbara/Chango. with thousands journeying to the church in parraga. or we dedicated ourselves to working together. We were inseparable as lovers. as a married making their own ceremonies at home. December 16-17 is the pilgrimage to El Rinc6n. the couple. and as partners in art. church of San LtizarolBabalu-Aye. I arrived at Celina's home in the morning of December 14. We began to work the Oriente radio network in 1947. We arrived in Havana on November accompanied by Idania and Michel Diaz, afficionados of Celina's music and fellow 2. and were hired for one week by the radio station Suaritos. By the end of the week we had Guantanameros. Celina graciously welcomed us, and we ended up talking for over four hours composed the number "Santa Barbara. " and made a 9O-minute taped interview. Before composing the song, Santa Barbara had appeared to me twice in dreams. She Behind the front door of her simple house sits Elegua. In the other comer is a huge Ogun asked me to sing for her. she said if I didn't I would not succeed, and if I did I would travel the prenda. above which hangs a long machete. and next to this a portrait of Fidel (the warrior) in world. When I made the song. it became a hit in Cuba. and from there we became famous uniform. Celina had just received Babalu-Aye. whose altar is next to Ogun. On a Soviet-made around the world. TV to the left of Babalu sits a framed gold record she received as an award. At the far side of She also told me that I was going to enter into Santeria. But many years passed until I was the room stands a wooden painted statue of Santa Barbara. four feet tall. and framed with Xmas initiated in 1959. I was initiated as a daughter of the holy Virgen de Regia, Yemaya. lights. On the bureau next to lier is a small statue of el Nino de Atocha. It is here that Celina 1M: Did Reutilio influence the themes of your music? holds court. We distributed ourselves onto the hard wood rocking chairs in the room. and a CG: In the first song of Santa Barbara no. but in the others yes. When we saw that "Santa young male godchild (ahijado) served us coffee. A female godchild came in. a doctor. and Barbara" was a hit. and that she conceded to me all that she promised. he and I began to co­ talked about green medicine (herbology directly related to the curative practices of Santeria). author songs. He made the music. and I made the words. After two hours. all visitors but ourselves left, and we sat with the Queen of the punto cubano I don't know why, but the first song for Santa Barbara. I had to make in decima, except as she talked about her music and her religion. for the Yoruba phrase "Que viva Chango" (Long live Chang6) in the chorus. Thanks to her, to When we arrived. Celina made it clear that she never lets anyone photograph her Santa God.